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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

"Knowing"...

Finner said:
From everything I have seen based on pure image alone the F23 beats the Red One.

So based on your quote are you saying the Scarlet will have a better image then the Red One? :-)
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Actually I disagree with that, the F23 and F35 reel shown in the Sony NAB Digital 4K projection suite at NAB did not look better than the 4K projection done on the 4K sony projector at the RED Booth.

I know I may be bias, but I will say the team that shot the F23 / F35 horse footage from Stargate Digital are REALLY good guys. Outstanding film makers - so I was set to be be impressed, and while the framing and general shot design was great, the image quality was not superior. And this film was shot for Sony - for demo purposes.

I would also add another factor here. Post matters. The Viper shot Zodiac looked great when I saw a clean new print - but I have since discovered that the pipeline for that film involved some serious post image processing and clean up (nothing wrong with that) But it is hard to compare cameras, and I fully agree with that, but IMHO the F23/F35 was not superior to the Red Footage - in an environment where both companies were aiming to put their best foot forward.

Mike
 
I've seen F23 Footage, not even close to RED. The primary reason is that the sensitivity to detail. The roll off and the greater ability to capture the full range of an image as result of greater resolution. The F23 footage I've seen when exposed best does look good, but the range of the image is certainly far more flat. I would personally take a Viper over an F23 and shoot in it's "Ana" mode, certainly produces some very clean images. Produces a technical 2592x1080 once expanded and that looks awesome. Nothing compared to RED though, can't wait for 4.5K 2.40:1, thats where it's at!
 
Finner said:
Scarlet will be fun for home video stuff and the odd crash camera. IMO It will not be a high level pro camera.
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Unfortunately Finner doesn't know best this time.
 
Finner said:
From everything I have seen based on pure image alone the F23 beats the Red One.
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Jannard said:
Are you basing your RED ONE comparison to the F23 solely on DR?
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He has certainly brought that up many times in the past. Maybe he doesn't know that you can trade resolution for dynamic range?

In fact, the F23 has to have at least one or two stops more dynamic range than RED ONE at the pixel level (100% crops) just to equal the RED ONE at the image level (on the 1080p big screen). The dynamic range of any digital camera is the signal to noise ratio, and noise is reduced by resampling. (I also wonder if noise reduction is being performed on the RED ONE images, since the F23 very likely is, which would skew the dynamic range comparison.)

Edit: One more thing: the F23, with a 3CCD design, has 25% more blue-filtered photosites, which is very handy in Tungsten light.
 
I have notice one thing about Finner remarks, when I talk to people coming from the average film background, I hear the same opinion.

After Finner claimed that RED has only 8 stops I ask few people that used RED by renting it for the first few times (not the owners) and amazingly I have heard the same opinions.

I guess there is more people out there that knows how to set the film or F23 camera and the lighting for it, the right way, then people that knows how to set things the right way for RAW camera shooting.

It takes a combination of educating the customer base and a camera backward operating compatibility to change it around.
 
Jannard said:
Just to make sure everyone knows... I like Finner.

Jim
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I know that Jim. Just wanted to shake things up a bit. It gets borring here every once and a while and it did get you to post a new scarlet render (ha).

I think a good F23, F35, D21, genesis and Red test is in order as soon as build 16 is bullet proof.
 
Woohoo! Thanks for the new Scarlet render, Jim! A lot of us over at ScarletUser have been chomping at the bits for news! :D
 
Well, its about time Hollywood gets a grip. You know it and I know it. The RED ONE is going to work in Hollywood. KUDOS to DP: Simon Duggan for having the stuff to make that call!

LYNDEL CROSLEY, soc
Digital Imaging & Data/Media Management Tech
Workflow Specialist
(818) 424-6186 DragonsEyesProd@aol.com
 
That looks beautiful, but I hope the specular highlighting is turned down a bit for the actual camera ;)
 
MattN said:
That looks beautiful, but I hope the specular highlighting is turned down a bit for the actual camera ;)
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hehe... here we go again. I told Matt to make it "shiny silver" in the render just to drive everyone nuts.. we decided against it. This is a render. Not a photograph.

Jim
 
Nice! Great job, Finner. :-)
 
And just think, if only that "26miles" cameraman hadn't called Scarlet a toy! :D
 
I heard that actually Scarlet as a small factor professional cine digital camera was the first ordered to shot a full feature from one Academy Award Winning Director.

Please correct me if I'm wrong.

Or Finner knows that fact better but not always the best as we know :).
 
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